young edward blake william (42 risultati)

Paperback. Condizione: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condizione: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condizione: Good. Condizione sovraccoperta: Not issued. Softcover. Clean and tight. No markings. Some cover wear. Fast shipping from NYC!

Condizione: Good. Good condition. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Condizione: acceptable. Fast & Free Shipping â" A well-used but reliable copy with all text fully readable. Pages and cover remain intact, though wear such as notes, highlighting, bends, or library marks may be present. Supplemental items like CDs or access codes may not be included.

Soft cover. Condizione: Near Fine. SOFT COVER IN NEAR FINE CONDITION.

Paperback. Condizione: Brand New. 100 pages. 6.14x0.21x9.21 inches. In Stock.

Paperback. Condizione: New.

Soft cover. Condizione: Good. 1975. corners creased. Size: 4to - over 9¾ - 12" tall. Book.

Other Binding. Condizione: Fine. 1st edition. Digital facsimile (in electronic PDF format on CD-ROM disc) of two hand-colored copies of Blake's celebrated edition of Young's Night Thoughts. Copies J and B from the Lessing J. Rosenwald collection at the Library of Congress present examples of the two different styles in which this work was colored. Includes images of both copies at unprecedented resolution (may be magnified at up to 300% of original size), a full searchable transcription of the text, an introductory commentary by Nicolas Barker, bibliographical and provenance information, and a special comparison feature that allows side-by-side viewing of the engravings in each copy. As new copy. Not Signed.

Condizione: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

In-4, 31 cm, 95pp., illustr. 43 dessins de William Blake, bon etat, Ats10,

paperback. Condizione: New. In shrink wrap. Looks like an interesting title!

Hardcover. First Edition Thus. Folios, two volumes. In Very Good plus condition with Very Good minus dust jackets and Good minus slip case. Cream spines with black titling. Slip case with light plus bumping and shelf wear at edges and corners; rear horizontal joints with more significant wear including splitting. Light plus rubbing and shelf wear to surfaces of slip case boards. Dust jackets with light bumping and shelf wear to head and tail of spines and edges of jackets, including minor tears; light sunning to spines; and light marking to dust jackets, primarily near spine and edges. Dust jackets with prices clipped. Bindings with light bumping to heads and tails of spines. CONTENTS: Vol. I (xvi, 99 pages plus over 263 unpaginated full-page plates). -- Vol. II (viii, plates 264-537). [Oversized set. Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers, please inquire for rates.] Shelved in Room A Oversized. 1389749. Special Collections.

Hardcover. Condizione: Fine. Condizione sovraccoperta: No Jacket Issued. Limited Edition. Two folio volumes plus 8vo commentary volume, half blue goatskin leather with leather label to upper board of each volume, lavishly illustrated throughout, LIMITED EDITION, this being number 864 of 1000 copies, a little faint tanning to companion volume and inside of box from leather labels (see images) otherwise a lovely fine clean set in fine original cloth box which has leather label to spine. We are a real bookshop with real books situated in and shipping from the United Kingdom.

Quarter-Leather. Condizione: Like New. William Blake (illustratore). Facsimile with 537 illustrations by William Blake from the original watercolours in The British Museum. 1,000 numbered copies produced by The Folio Society. The two large volumes are hand-bound in Nigerian goatskin leather with cloth sides printed and blocked with William Blake designs redrawn by David Eccles. Printed on Modigliani Neve paper, specially selected to match the original Whatman paper stock. Accompanied by a specially commissioned commentary volume by renowned Blake scholar Robin Hamlyn. Book Size: 17" x 13", 548 pages. Presented in a buckram covered solander box. SHIPPING CHARGES: Domestic USA shipping is as quoted (almost free); International shipping requires extra (anywhere from $250-$300).

No binding. Condizione: Very Good. First edition. Large Quarto (16 3/16" x 12 3/8", 410mm x 315mm): 54 leaves, pp. i-iii (title, blank, advertisement) iv-viii, [2] (Night the first, on life, death and mortality, blank) 1-16 17-18 (Night the second on time, death and friendship, blank) 19-42 43-44 (Night the third, Narcissa, blank) 45-63 64-66 (blank, The Christian triumph, blank) 67-95 [3] (blank, 2pp. explanation of the engravings). With 4 engraved subtitle-pages and 39 engravings bordering the text. Disbound. Presented in a custom chemise within a portfolio of quarter mottled calf over grey card (16 7/8" x 13 ¼", 428mm x 336mm). On the spine, "Young's / night / thoughts / Blake" gilt to a black morocco lettering piece. Date gilt to the heel. Pinholes and facsimile repairs along the left margin throughout. Occasional pale foxing, soiling to the extremities, and cockling. Repaired horizontal tear from the fore-margin to leaf 10. Repaired tear to the lower fore-corner of leaf 35. Horizontal tear extending from fore-edge of leaf 49. Dampstain to the upper edge of pp. 51 Watermark of J. Whatman to leaf 35 and 48. Leaf of "Explanation of the engravings" inlaid. In 1797, the bookseller Richard Edwards published the first installment of his new edition of Edward Young's Night Thoughts. A poem in nine parts, the work had already seen many iterations since its initial release between 1742 and 1745. Edwards promoted his unique edition with a titillating prospectus, describing it as "part the first of a splendid edition of this favourite work, elegantly printed, and illustrated with forty very spirited engravings from original drawings by BLAKE." Described as "the most grandiose engraving project of Blake's lifetime" (Bentley & Nurmi, p. 4), the impression was instantly scarce. William Blake (1757-1827) spent nearly two years illustrating the complete Night Thoughts; creating a watercolor design in the margins of every page, amounting to 537 illustrations in total. This was the largest commercial endeavor for which Blake was ever employed. Edwards began the project by having the pages from the first and second editions of the poem glued into windows cut into large leaves of Whatman wove paper. These text pages were positioned slightly off-center to create a lower margin greater than the upper and an outer margin greater than the inner (Bentley notes that the paper was "only marginally larger than the copperplate, and even in untrimmed copies, parts of the platemarks may not appear"). Blake was paid the paltry sum of twenty guineas for his watercolors, presumably because he expected to receive a great deal more for engraving them. Of 537, only 43 were engraved for the first run of the Edwards edition, which spanned four "Nights" of the poem. Despite much anticipation, the project was a complete commercial failure, and no further volumes were released. The flop of the project may have been one of the reasons why Blake decided, in 1800, to move from London to the village of Felpham on the Sussex coast and place himself under the patronage of William Hayley. Today, the vast majority of Blake's Night Thoughts illustrations remain unpublished. The cost of the project, which involved the separate printing of the text and the plates, was evidently too great, and the illustrations were perhaps too lewd for contemporary tastes (Pilkington notes that the work's only impression on the public was to startle the pious with unexpectedly "naked groups"). Additionally, Young's words and Blake's pictures were often in tension with one another. The generality of Young's diction gave Blake considerable freedom in illustrating it, and Blake's ideological supplementals become apparent even with a cursory glance. When Young wrote Night Thoughts in the middle of the XVIIIc, he considered that he was offering "plain truths" with which his readers would agree that reason is man's dominant faculty and rigid moral laws provide punishment for sin. When Blake illustrated the poem fifty years later, it was precisely these ideas which he opposed. Where Young had hoped to restrain imaginative energy with Reason's chain, Blake's work celebrates the liberation of Imagination a central dogma in the personal mythology that he constructed in response to the Age of Revolution. A beloved figure in Children's Literature, Maurice Sendak (1928-2012) was also a passionate art collector. For Sendak, the two pursuits were inseparable. "I'm not a collector who collects just for collecting," he said in 1984, "things have to refer back or give me some turn-on in my work." Sendak considered William Blake a cornerstone of his thinking, particularly regarding both the beauty and seriousness of childhood. The present example was lot number 110 of Christie's 12 June 2025 sale of Sendak's collection. Bentley & Nurmi, pp. 4; Pilkington, pp. 48.

Hardcover. Condizione: Fine. Blake, William (illustratore). Limited Edition. One of 1020 copies, two folio volumes plus companion volume in case, folio volumes elephant folio size with [548] pp., Commentary volume small quarto size with 382 pp., with prospectus and leaflet. William Blake (1757 - 1827) is arguably the most original, and one of the most highly-regarded English author - unusual in that he excelled both as an author and an artist. Although thought mad by his contemporaries, he was held in high regard for his expressiveness and for the synthesis of philosophical and mystical senses within his work. Edward Young (baptized 1683 - 1765) is best-known for this work (originally published in parts between 1742 and 1745), a poem in blank verse written by him as he dealt with the death of his wife and rejection by his son. The poem was highly influential in the Eighteenth Century and was an almost instant success. Sadly, when William Blake published his illustrated version in 1797, it contained only 43 of his designs; it was a commercial failure and the rest of Blake's designs were never published. These designs, nearly 500 paintings, "which included some of Blake's most dramatic and vibrant work, remained unpublished, until this Folio Society facsimile was created" (n.b., from prospectus). This version was "the only time all 537 of Blake's watercolours have ever been published together in colour" (ibid). This work includes a scholarly Commentary volume by Robin Hamlyn (d. 2016), a curator at Tate Britain who specialised in William Blake and mounted a comprehensive exhibition of Blake's work in 2000. ___DESCRIPTION: The work consists of two large volumes bound in half navy Nigerian goatskin leather with cloth sides, the front boards each with a different decoration stamped onto the cloth by David Eccles and a mounted goatskin label with silver lettering, the spines with silver lettering, silver endpapers of handmade laid paper from the Fabriano mill, each illustration reproduced by digital photography from the original Blake designs in the British Museum, comprising a letter-press page framed by a pen-and-watercolour drawing; the illustration pages printed on Modigliani Neve paper, binding elephant folio size (16 3/4" by 13 1/2"), [548] pp. in two volumes; limited edition of 1000 sets (plus 20 lettered sets HDC), this no. 820. The companion volume bound in full blue cloth, silver paper label on the front board and silver lettering on the spine, silver endpapers; binding small quarto size (9 7/8" by 6 3/8"), pagination: [i-vi] vii-xx [1-2] 3-362. All volumes enclosed in a buckram-covered solander case with a tray for the Commentary volume, the inside lined with silver paper, the spine with a blue leather label with silver lettering; loosely laid in is the prospectus and a leaflet, two separate sheets each folded once for mailing, the prospectus with edition specifications and advertising blurbs, the leaflet with two sample illustrations. ___CONDITION: The set is fine overall, the binding without wear, straight corners without rubbing, strong, square text blocks with solid hinges, the interiors clean and bright, and the set entirely free of prior owner markings; the bindings on the folio volumes mostly clean with a few very light, stray marks on the back boards; the solander case fine overall, strong and sturdy, with one very small spot of wear on the front; the leaflet and prospectus near fine with a few small areas of wear. ___POSTAGE: Please note that this is an extremely large and heavy set, and additional postage will apply; please inquire for details. International customers, please note that any taxes, duty, or tariffs charged by your country will, of necessity, be your responsibility. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Hardcover. Condizione: Very Good. Blake, William (illustratore). 3 volumes consisting of a facsimilie from the original edition in the British Museum bound in quarter Nigerian goatskin and matching leather labels with pictorial cloth boards complete with the Commentary by Robin Hamlyn bound in matching blue cloth, all in excellent condition with clean, unmarked text, housed in a very good solander box which has a few small marks, number 692 from a limited edition of 1000, a very heavy set that will require an additional postage fee for some international destinations, please contact for details Size: Folio.

Hardback. Condizione: Fine. No Jacket. First Edition. First Edition thus, Folio Society 2005 2 volumes, facsimile limited edition, No. 235 of 1000 copies, colour illustrations throughout, original quarter morocco by Smith Settle of Otley, upper covers decorated designed by David Eccles based on William Blake's original drawings, silver-gilt decorated spines, together with commentary volume in original buckram, contained together in original clam-shell box, folio, Folio Society, 2005. HEavy set and additonal postage charges may apply.

BLAKE, William (illustratore). . YOUNG, Edward. The Complaint, and the Consolation; or, Night Thoughts. By Edward Young, LL.D. London: Printed by R. Noble, for R. Edwards, 1797. First edition. Folio (16 3/8 x 12 3/4 inches; 415 x 325 mm). viii, [2], 95, [1, blank], [2, Explanation of Engravings] pp. With forty-three copperplate engravings by William Blake surrounding the letterpress text. Leaves are very large and barely trimmed. With the "Explanation of the Engravings" which is often lacking. Paper watermarked "1794 J Whatman." Beautifully bound in full straight-grained red morocco. Boards tooled in a Greek key pattern in gilt. Spine lettered and stamped in gilt. Gilt board edges. Gilt dentelles. Marbled endpapers. Edges speckled gray. With very wide lower margins, usually including the imprint. The imprints on plates 4, 7, 13 and 20 trimmed or shaved. The fore-edge margin of the "Explanation of the Engravings" is extended about 1.5 inches. Occasional minor offsetting or finger smudging to leaves. Overall a beautiful copy. According to Bentley, "the paper was only marginally larger than the copperplate, and even in untrimmed copies. parts of the platemark may not appear." Edward Young's immensely popular Night Thoughts first appeared in 1742-1745. He eventually extended the poem to nine "Nights," though only the first four were illustrated by Blake for this edition. For this, his most ambitious and spectacular work to date, Blake spent two years creating over five hundred drawings, of which only forty-three were ever engraved. Baffled by the novelty of Blake's illustrations, the public did not receive the edition favorably. Nevertheless, the plates are "splendid examples of plain line engraving done by an artist whose creative energy sought to burst through" (Keynes, William Blake's Engravings, p. 12). Bentley 515. Ray, The Illustrator and the Book in England, 3. Russell 17. HBS 69205. $13,500.

Hardcover. Condizione: Fine. Facsimile Edition. Massive work, three volume set in clamshell box. The main work is in two volumes which measure 42.5 x 34 cm. Also included is the 362pp "Commentary" volume by Robin Hamlyn in a smaller format 25 x 16 cm. Extensively illustrated with 537 watercolor illustrations by William Blake. Facsimile edition limited to 1020 copies of which this is copy 37. Bound into 1/4 Niigerian Goatskin leather with cloth sides printed and blocked with designs by David Eccles based on William Blake's original drawings. Leather labels on box and Night Thoughts volumes. Beautiful editon, in similar condition. First and so far only time the entire work had been published in full-color facsimile. Only flaws I notice are a few bumps to the clamshell. Massive set, shipping outside of the US will require substantial additional charges.

Half-Leather. Condizione: Very Good. William Blake (illustratore). 1st Edition. Folio newly bound in half brown calf gilt over marbled boards. New endpapers with ribbon marker. viii, 95 pp With all 43 text framed engraved plates and 4 Chapter heading plates. One plate on page 63 not bound evenly. It was originally missing and was replaced with a true original plate from noted Blake dealer. There is spotting on a number of pages and mild underlining on a few pages but overall this is a very nice copy of an uncommon book. Size: Folio - over 12 - 15" tall. Book.

Leather & Cloth. Condizione: Near Fine. William Blake (illustratore). Facsimile Edition. Folio. Two volumes in one quarter silver lettered black goatskin over blue and silver decorated cloth with leather title label on front panel. Housed in a cloth clamshell box. Limited edition of 1000 numbered copies of which this is #521. Over 500 watercolours by William Blake accompany the text. This is a facsimile of the one the greatest illustrated books of the 18th century. A magnificent production. A couple of faint spots to clamshell box but overall A fine set.

With an Introductory Essay by Geoffrey Keynes. [18] pp. Thirty leaves of facsimile in color and shades of gray, printed in Austria. Oversized folio, loose sheets laid into publisher's ribbon-tied portfolio as issued. No. 465 of 500 copies. Shallow creasing at the very edges of a few leaves; contents otherwise fine in a spotted and stained (but intact) portfolio (with half of one ribbon missing).

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1911 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Pages: 100 NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 100.

First edition of "the most grandiose engraving project of Blake's lifetime" (Bentley & Nurmi, p. 4), issued in small numbers and instantly scarce: in 1811, the diarist Henry Crabb Robinson recorded that the book "is no longer to be bought, so excessively rare has it become" (quoted in Bentley, Blake Records, p. 453). This untrimmed copy is from the library of Blake's patron, Lady Hesketh, the cousin and closest friend of the poet William Cowper. Harriet, Lady Hesketh (1733-1807) knew Blake through his friend and patron William Hayley, who was also a benefactor to Cowper and the artist George Romney. Hayley built a cottage for Blake in Felpham, Sussex, near his estate in Eartham, where Blake lived for three years from 1800. When Hayley began writing his biography of Cowper the same year, he commissioned Blake to engrave six illustrations, including one based on Romney's portrait of Cowper. Blake's miniature version, painted at Eartham in 1801, scandalized Lady Hesketh, who owned the original. "The Sight of it has in real truth inspired me with a degree of horror, which I shall not recover from in haste! I cannot restrain my Pen from declaring that I think it dreadful! Shocking! and that I intreat you on my Knees not to suffer so horrible a representation of our angelic friend to be presented to the publick. You will not be so cruel as to multiply this fatal resemblance, by having the picture engrav'd" (p. 79). Her fierce objections were to the portrait's subtle suggestion of her cousin's madness, which she was determined to suppress from his biography. Hayley vigorously defended Blake, and Hesketh's opinion softened on seeing the engraved version. Blake wrote that "to please Lady H. was a doubtful chance. & she writes that she is quite satisfied with the portraits & charmd by the great Head in particular" (p. 113). When Hayley and Blake collaborated on a series of illustrated ballads the following year, Hesketh generously patronised the work, solicited subscribers in Bath, and bought ten copies of the collected volume. She remained wary of Blake, however, and was unafraid to pass on her criticisms of his engravings. After hearing of Blake's altercation with a soldier, Hesketh was unnerved, and imagined him murdering Hayley: "I don't doubt he will poison him in his Turret or set fire to all his papers, & poor Hayley will consume in his own Fires" (p. 163). This is the last mention of Blake in her correspondence. Blake's struggle to win Lady Hesketh's favour finds an echo in the publication of Night Thoughts. He was commissioned to illustrate Edward Young's popular poem in 1795 by the Bond Street bookseller Richard Edwards, and spent two years producing 537 watercolours, now held in the British Library, to surround the text of the poem. Blake was originally to be paid 100 guineas to prepare around 200 engravings to the first four nights, but Edwards gave him only 20 guineas for 43, and closed his business before any further volumes could be produced. In his advertisement, Edwards describes Blake's engravings as "a perfectly new style of decoration, surrounding the text which they are designed to elucidate". The sheets were printed twice, once for the text, a second time for the illustrations. Bentley notes that the paper is "only marginally larger than the copperplate, and even in untrimmed copies, parts of the platemarks may not appear". This copy, possibly given to Hesketh by Hayley, is entirely untrimmed; all the designs are complete. Bentley 515; Keynes 200; Ray, The Illustrator and the Book, 3. G. E. Bentley, Jr., Blake Records, 1969; G. E. Bentley, Jr. & Martin K. Nurmi, A Blake Bibliography: Annotated Lists of Works, Studies, and Blakeana, 1964. Folio (440 x 340 mm), pp. viii, [2], 95, [1]. With 43 engravings by Blake from his own drawings, made up of 4 title pages (one for each "Night") and 39 pages with illustrations surrounding the letterpress text. Contemporary vellum, spine lettered and ruled in gilt, boards ruled in blind. Housed in a black cloth flat-back box by the Chelsea Bindery. Armorial bookplate of Lady Hesketh's husband Sir Thomas Hesketh (17261778) and their library shelfmark to front pastedown. Vellum lightly soiled, front board just slightly bowed, finger-soiling to outer leaves and some margins. An excellent copy.

Full Morocco. Condizione: Very Good. First Edition. Elephantine folio, 44 by 34 cm. viii, [2], 95, [2] pp. 43 of the pages have Blake's expansive, charismatic illustrations surrounding the text. Four of these are section heads, the balance, being border ornamentation, but even the latter are far more than merely decorative. The distinctive Blake artwork fires the imagination regardless. In fact, the text, which is framed with ruled lines, seems to cover some of the illustration. Last two pages are the Explanation of the Engravings, which are often not present. The full navy blue morocco is fairly heavily rubbed along the edges, a bit less so, by the joints. Some scattered soiling within, but the pages are generally quite clean. There are a few closed tears, not of great length, and one repaired close tear which was somewhat longer. The Explanation of Engravings leaf has two repaired tears. Notwithstanding these flaws, this is an attractive, appealing copy.

Three volumes - two volumes folio, the commentary 8vo. Folios bound in midnight blue goatskin over blue-grey silk boards, illustrated and with matching leather title labels to the upper covers, commentary bound in dark teal cloth, silver lettered to the spine with a blue-grey title panel to the upper cover, housed together in a dark blue cloth solander box with matching silver lettered leather title label to the spine. High quality colour reproductions of Blake's illustrations throughout the folio volumes. A few minor bumps to the case, a lovely example.

Leather Bound. Condizione: New. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1911. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Pages: : - 100, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 100.